In her 1899 pedagogy manual Touch: Piano Instruction on the Basis of Physiology, the composer and pianist Marie Jaëll (1846–1925) describes pianistic touch as a ‘polyphony of sensations’, a synthesis of vibrations that is both physical and psychical. This article examines Jaëll's recourse to nineteenth-century experimental science, specifically experimental psychology, to develop a theory of pianistic touch. Touch, Jaëll contends, necessitates a pianist's attention to haptic and aural impulses in an elusive, ‘simultaneous and successive’ process that collates the pianist's tangible sensation of the keyboard and the ineffable mental impressions conjured by sound. This braided sense of musical touch can be cultivated in performers and transmitted to listeners. Jaëll makes this assertion using a novel kind of visual evidence: fingerprints. Fingerprinting her students before and after the execution of selected piano études and treating the prints as diagnostic documents, Jaëll posits that isolating and attending to minute variations in touch is akin to attuning to the aesthetic content of a musical work. Jaëll crystallized her methodology in a vibrant collaboration with Charles Féré (1852–1907), a criminologist and one-time student of Jean-Martin Charcot. More broadly, Jaëll's treatise is a striking exponent of the era's ‘graphical method’, pioneered by Étienne-Jules Marey, which sought to supplant scientific rhetoric with ‘objective’ truth, depicted as machine-generated wave forms. The ethos that motivated the creation of such representations, propagated by an array of influential scientists including Ernst Heinrich Weber and Hermann von Helmholtz, underscores a tendency to intertwine physiology and psychology in an enterprise that quantified sensation as a fact of mechanistic causes. Jaëll's emphasis on attention – how thought modifies touch and sound – sets her theory apart from experimental psychology's more determinist premises. In Jaëll's experimental apparatus, fingerprints are not objective; rather, they index the variable haptic and sonic sensations experienced by the pianist. As a nascent theory of embodied cognition, Jaëll's pedagogy bespeaks a fluid relationship between mind and body at the dawn of the twentieth century.

中文翻译：

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印刷钢琴教学法：实验心理学与玛丽·雅尔的触觉理论

在她 1899 年的教学手册中触摸：生理学基础上的钢琴教学，作曲家和钢琴家 Marie Jaëll (1846–1925) 将钢琴触感描述为“感觉的复调”，即身体和心理振动的综合。本文考察了 Jaëll 求助于 19 世纪的实验科学，特别是实验心理学，以发展一种钢琴触觉理论。Jaëll 认为，触摸需要钢琴家在一个难以捉摸的“同时和连续”的过程中关注触觉和听觉冲动，该过程将钢琴家对键盘的有形感觉和声音所唤起的不可言喻的心理印象进行对比。这种编织的音乐触觉可以在表演者身上培养并传递给听众。Jaëll 使用一种新颖的视觉证据做出这一断言：指纹。Jaëll 在执行选定的钢琴练习曲之前和之后对她的学生进行指纹识别，并将这些指纹视为诊断文件，Jaëll 认为，隔离和关注触摸的细微变化类似于调整音乐作品的审美内容。Jaëll 在与犯罪学家和让-马丁·夏可 (Jean-Martin Charcot) 曾经的学生查尔斯·费雷 (Charles Féré，1852-1907 年) 的一次充满活力的合作中具体化了她的方法论。更广泛地说，Jaëll 的论文是由 Étienne-Jules Marey 开创的那个时代“图形方法”的显着代表，它试图用“客观”真理取代科学修辞，被描绘成机器生成的波形。激发创建此类表示的精神，由包括 Ernst Heinrich Weber 和 Hermann von Helmholtz 在内的一系列有影响力的科学家传播，强调了在将感觉量化为机械原因的事实的企业中将生理学和心理学交织在一起的趋势。Jaëll 对注意力的强调——思想如何改变触觉和声音——使她的理论与实验心理学更确定论的前提区分开来。在 Jaëll 的实验装置中，指纹不是客观的；相反，它们索引了钢琴家所经历的可变触觉和声音感觉。作为一种新兴的具身认知理论，Jaëll 的教学法体现了 20 世纪初身心之间的流动关系。s 更多的决定论前提。在 Jaëll 的实验装置中，指纹不是客观的；相反，它们索引了钢琴家所经历的可变触觉和声音感觉。作为一种新兴的具身认知理论，Jaëll 的教学法体现了 20 世纪初身心之间的流动关系。s 更多的决定论前提。在 Jaëll 的实验装置中，指纹不是客观的；相反，它们索引了钢琴家所经历的可变触觉和声音感觉。作为一种新兴的具身认知理论，Jaëll 的教学法体现了 20 世纪初身心之间的流动关系。